John L

Armstrong's RCA version from 1932 is another brilliant interpretation.

I have been spending a lot of my time in Kazakhstan recently, and they do incredible things with horse meat there.

I have been spending a lot of my time in Kazakhstan recently, and they do incredible things with horse meat there.

I guess that would have to be when I took the pension money from my former job and made a down payment on a house with it a few years back...

The version of "45 Degree Angle" on Love, Gloom, Cash, Love" is indeed more than 4 minutes long on the CD that I own (4:32). On the other hand, "Infatuation Eyes" is only 2:48. The times that you have there look wacky.

They found an alternate of "I Left My Baby." Holly shit! Three more takes of Riff Interlude?????? Let me at it NOW!

OK, hang on a sec. Unless I'm misreading something here, I'm seeing a misconception coming up here that I see often. That being that there is some sort of dynamic compression in the mp3 encoding process. There isn't. mp3 is a data compression codec. All it's doing is removing bits of data, not performing any kind of dynamic range compression. If the source material is compressed to hell, then the mp3 will reflect that, but the process doesn't add that. If that wasn't what you were saying, my apologies. It's just one of those things I see mentioned so often because I don't think people understand the difference between data compression and dynamic compression. PS- there's a phrase I've heard often: no highs, no lows, must be Bose. Not to start a flamewar, but I've yet to hear a Bose product that couldn't be bettered by a much cheaper product. Thank you. That is indeed a common misperception. The confusion is understandable. There are complaints about sound quality due to compression. There are complaints about sound quality due to losses in going from WAVE to MP3s. Then people link the two in their heads, which is indeed wrong.

Wasn't Eddie Durham also the first to record with electric guitar?

On the subject of Delmark covers, was this the original cover of Together Alone?

I think that I understand where Bill is coming from. Musicians who do it themselves have a whole different sort of appreciation of what it takes to really master the craft: to navigate difficult changes, to always hit appropriate notes, to be versatile enough to play fluently in lots of different musical contexts. Those types of musicians will usually earn higher respect from their peers than from the overall listening public that lacks this deep appreciation, and might care much less if a musician makes a few mistakes or falls back on something simple in a challenging environment. As others have noted, I think that this perspective has its advantages and disadvantages. For example, in many ways, the listening public was more willing to accept Ornette Coleman in the late 50s and early 60s than was the jazz community. The listening public had the advantage of being more able just to let the music flow in without having to contemplate continuously the degree to which Ornette was riding roughshot over everything that was expected of a jazz soloist.

it is interesting that High Life has always been much more popular among jazz musicians than among jazz listeners. Myself, I can't help but feel that the brilliant compositions on that album could still have been delivered with a bit more "punch." Still, new brilliant compositions are new brilliant compositions.

That really is a shame. Like others, I have already downloaded much more from them than I have the time to listen to. But it was a great reference point, and full of interesting information.

1968 is a funny year to have chosen. Most people who only like his early stuff would have said '66. I think al he did between 66 and 68 was John Wesley Harding and the basement tapes. And surely you find some merit in Blood on the Tracks. The motorcycle accident is a somewhat compelling dividing line. Dylan almost seemed superhuman in the period right before that accident. Afterwards, he continued to make fine music, but the white hot inspiration that brought the 1-2-3 punch of Bringing it All Back Home-Highway 61-Blonde on Blonde never really returned. That said, I agree that Blood on the Tracks contained some quite exceptional material.

Reviving this old thread as I just received the Chu Berry Classics 1937 - 1941 disc. (These Chronological Classics discs seem to be available through Caimen sometimes for quite a bit less than elsewhere, btw.) This disc apparently collects all his recorded material as a leader, which isn't a whole lot, it seems. Four separate bands represented here. Sound quality is perfectly acceptable, to my ear (the high end seems to be dampened down a bit, but not bad). And the music is wonderful. Berry comes through loud a clear. ... Should add, this is my first foray into Chu Berry's music. I'd have no trouble recommending this compilation. Since this thread began, there is also in new Mosaic box set that can make exploring Chu Berry a lot easier.

The Bobby Hackett tribute to Bix on I'm Coming Virginia from the 1938 Carnegie Hall Concert is also a beauty.

The whole autobiography gives the impression that Art Pepper was such a natural genius that he hardly had to even think about music or practice his craft in order to create what he did. While I believe that Pepper was endowed with rather extraordinary musical sensibilities, I still take some of these stories with a grain of salt. It seems like Pepper plays up the natural genius persona deliberately in the book, and maybe he goes a bit overboard sometimes. Nobody plays the way Art Pepper played without tremendous hard work and dedication. It would be interesting to hear Laurie's views on this.

Could be. But I think Orrin may have copywrited the whole ME thing

If he wants to use that title, I am afraid that he will have to buy the copyright from Orrin Keepnews.

As I understand, the 1940 session with Christian and Pres will also be included on the Lester Young w/Basie Mosaic that will be released next month.

Dan's still trying to figure out what he can afford and thanks everyone for their advice. He also is hoping to hear from someone on the Brew Moore and Johnny Adams discs. Dan, I picked up that Johnny Adams collection recently. It contains rather rare recordings, some of which are making it to CD for the first time. I like it, although I am a Johnny Adams freak. I agree that these are generally not among his best recordings: in fact, far from it.

Just to clarify: surely, your comments apply to 25 & 29, as opposed to 40 & 41. Those latter two never cease to amaze me.

That is what I understood as well. It has become quite a large site and forum for Dead lovers. I didn't think that there were any secrets about it.

Sounds interesting. It is unusual to use the word "cats" for women. Maybe that was a deliberate twist? (Of course, we don't want to use the word for a female cat here!)

OK, I removed it from my post, although only WorldB3 has the power to remove it from his. I didn't think much of it, particularly since that link has already been provided many times on this thread.

Yea, that is a great site. I use it. Not too much energy required.